SBD -> Master Cassette -> PCM -> Dat
Dat (Sony R500) -> SEK'D Prodif Plus -> Samplitude v7.02 Professional -> FLAC
(3 Discs Audio / 2 Discs FLAC)
Transferred and Edited By Charlie Miller
I can't confirm this lineage 100%, but that is how my dat was labled and that is how Rob Eaton has it listed, so I can only assume it's correct. I have also seen it listed as SBD>VHS>Cass>Dat>CD. This version sounds better and is more complete than the etree version.
Although, the mics used to record this show are unidentified
it only will take you 5 seconds to realize the deck was patched into
a veteran FOB taper with good equipment and a great buffer
zone in front of the mics. This is an awesome "you are there" FOB.
A HUGE special thanks to Painoman for lending me his Master Cassettes,
Which took me a friggin year to digitize. Painoman you have the
patience of a saint.
Source: Nakamichi CM304's + Beyer M101>Sony Mixer>Sony D5M
Location: *Lawn, Stand at 9 Feet
Transfer: Nak CR5A>Lunatec V3(analog out)>722@24/96
Editing: Adobe Audition 2.0 dither and resample 16Bit>Cdwav/tracking>flac16
Tapers: Tony Suraci/nak700
Transfer and upload by Tony Suraci.
Thank you to Charlie Miller for the SBD transfer;
to Jim Oade, Painoman, and Tony Suraci for recording the show;
and to Charlie Connor and Doug Oade for the AUD transfers.
Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>Soundtrack>WAV>FLAC)
July 6, 2008
1) There is occasional, minor static in the SBD.
2) Soundtrack Pro was used to reduce/remove static in Rooster, Supplication Jam, Spoonful, and Black Peter. (The static in Drums>Space seems to be instrument related.)
3) While any of the above AUDs could have made a good, interesting matrix, the Force ushered me to choose Oade, and incorporate the other two for the patches, when available.
4) There is a cut in the Oade Aud during Lovelight (3:23-end of track) Tuning (3) (entire track) and Baby Blue (4:39 to end). Painoman's AUD patches the Lovelight track up to 8:22, and Surac's AUD patches Baby Blue.
5) There are cuts in the SBD during Supplication Jam (0:17-0:29) and Space (3:39-4:39).
6) Some echo effects that the band was using during this time for vocals and instruments can sound like "slippage," but I can confirm that they are not such moments.
June 28, 2011 Subject:
Hunter Seamons is truly the master of matrix mixing. This matrix captures the ambience of the AUDs and the clarity and punch of the SBD. The recording demonstrates a great show from the band during a year that many overlook. The opening Midnight Hour is a great rendition of a Pigpen classic. The band really seems to be "on" during this show.
September 21, 2008 Subject:
Pitch corrected source now in circulation.
Pitch corrected source now in circulation, produced after this mtx.
August 11, 2008 Subject:
Nice Work on this Mix
Nice to have a mixed perspective - I always preferred the aud's to this show because the crowd was so much a part of this eve and the sbd is a tad bit sterile for how rowdy the band and the crowd got. SPAC is just one of those venues where the audience really played a part in GD performances.
Aud note: frankly I prefer the unknown mics over the Oade aud source (gasp, oh the blasphemy!) but this mix is nice and worth having. I think it will depend on my mood as to whether I cue up my AUD or this MTX.
This show has a sweet place in my heart - I loved GD @ SPAC in the summer and simply had a blast at this one. 85 is the year that got them banned for awhile as it was so over the top with all sorts of mayhem (see balcony sequence in the first set, but there were many other episodes of rule breaking that also brought on the decision I'm sure). Pretty surprised they were allowed back in 88.
Thanks for all your hard work on these fine matrix's believe me it does not go unnoticed nor is under appreciated.